About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

Roger Pfund at Artvera’s Gallery

Talking Beautiful Stuff takes on the opening of the Roger Pfund exhibition at Artvera’s. The invitation bears his iconic 1980 design for the last 50 French franc note. We get to the gallery early, grab a glass of champagne and soak up the atmosphere of this very classy exhibition. Geneva’s great and good drift in. Roger Pfund, who has designed bank notes and passports, created the visual identity of museums and depicted the spirit of human rights, is now a sprightly 75 years old. He sits quietly surrounded by admirers. He remains the only person to be honoured during their own lifetime with a major retrospective at Geneva’s Museum of History and Art.

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Roger Pfund, Nijinsky Dancer, mixed media, 2005, 140cm x 104cm

For Roger Pfund, the “vertebral column” of his work has always been painting. I admire and adore his huge mixed media portrait of Vaslav Nijinsky based on a 1912 photograph by Adolf Meyer

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A hallmark of his work is the mastery of and versatility with a wide range of techniques and materials including, oil, acrylic, charcoal, collage, screen print and engraving. It’s all on show this evening.

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Roger Pfund, Droits de l’Homme (Human Rights,) mixed media, 2006,  700cm x 180cm

One of Pfund’s most celebrated works comprises eight separate framed pictures together bearing the words of the first article of the Universal Declaration of Human Rights along the outstretched arms – or wings – of a Nijinsky figure. There is something incredibly primitive about this image. It is as if the spirit of the great dancer, rather than being crucified, simply spreads its broad wings and takes flight as a result of his fundamental rights being respected.

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This is a vast work. To appreciate it, one needs a wide view……

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…… and a close up. Does this incorporated print technique allude to banknote design? And talking of banknotes, if you go to Artvera’s – and you should – before this exhibition closes on 7th April, just take note of the price tag on this one!!

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The basement is dedicated to Pfund’s banknote designs. They are printed in high definition on aluminium plate using subligraphie. The reproductions are protected by PhyGital (a merge of physical and digital technologies;) an authenticity certification system developed by a Swiss enterprise, Trueplus. Pride of place is given to an exquisite series of notes designed according to various European “époques and styles.” Each note is a masterpiece. In 1996, this series was awarded first prize by an international jury charged with finding a suitable design for the then-new Euro currency. Inevitably, European politics intervened and the second-placed design was finally chosen.

Roger Pfund at Artvera's Gallery 8

We leave the exhibition buzzing. If you’re in town, don’t miss this opportunity for a brush with soul-enriching genius.

Four Fabulous Women

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I think of my fab four for International Women’s Day. I trawl the internet for suitable images. My intention is to write a brief glowing paragraph on each. I look at my chosen images. I reflect on the awful truth: Malala, shot by men.

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Simona, abused by a man.

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Marilyn, adored by men – and maybe adored to an early death. Her dignity abused after death.

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Ellen, imprisoned by men. Went on to become the first female leader of an African country.

I’m not feeling great about the collective Y chromosome thing. I extend my search. I reflect on the extent to which the lives of famous women been adversely affected or even determined by violent men or men with power or authority? (And then why should I focus only on famous women??) I go to Google, type in “famous women” and then hit “Images.” Google’s powerful algorithms make the case. Spot the odd one out!

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Perhaps 7th March should be the International Day for Men to Reflect on International Women’s Day?

Art Geneva 2018 by the Lakeside

Art Geneva 2018 has come and gone. What remains is a series of sculptures selected for the lakeside extension of this ever-growing art fare. I think this is the best part of the whole show. I love it. Big, bold public sculpture in an ideal setting. There’s just one problem. It’s minus 6 degrees by the lake today. The wind barrelling down from Lausanne makes it colder still. Wave-made icicles hang off “no swimming” signs (!) and mooring ropes. Only a few hardy dog-walkers and I are out and about. Somehow, the sculptures stand immune to and united against the blistering cold.

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Gonzalo Lebrija “Cubo Torcido” Polyurethane paint on steel, 2017

Gonzalo Lebrija’s twisted cube sits on a neat and clean base. It is itself a neat and clean structure. The smooth worked steel makes for blade-like lines. I run my numb thumb down it’s frozen edges. The proportions and feel are pleasing.

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Anthony Gormley “Big Take” Forged iron, 2014

O frabjous day! An Anthony Gormley. Somehow, someone from Art Geneva has managed to snag from somewhere and install here a work by the master of forged iron big public sculpture. I walk around it. No clean base this time but some carefully laid turf. Were it not for the temperature, I would sit by it for an hour or so and simply admire its balanced cuboid proportions. It makes me happy.

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Barry Flanagan “Large monument” Bronze, 1996

My third choice is Barry Flanagan’s “Large monument”. The name doesn’t help understand what passed through the sculpter’s mind in the creative process. Maybe this builds on the intrigue. I am sure there is a reference to some otherworld fantasy. (It reminds me of Paul Dibbles very real-world “Calici scythe“) Three happy rabbitoid figures prance and dance atop a tall, rough, solidly-sitting throne-like thingummyjig. A fourth figure sits pensively as though he/she/it is bored with the prance-dance. The reason I admire it is that whilst it is certainly a “large monument,” I can’t see Mr Flanagan taking the necessary work terribly seriously. I think he just had fun.

If you can’t brave the cold now wait a week or so for a slightly warmer Geneva lakeside to take in these sculptures. Individually and collectively, they are immensely gratifying.

The Surroundings of Niura Bellavinha

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Niura Bellavinha with Lusco Fusco (Fluidos e Fixos,) 2015 Acrylic and oil on canvas 130cm x 230cm

Once again, Espace L  brings a fragment of Brazilian creative culture to down-town Geneva. The gallery’s new exhibition “Alentours” (Surroundings) opens this weekend. It’s worth checking out. The main act is the work of Niura Bellavinha. I meet her fresh from the airport. What she has brought with her awaits hanging; she takes me on a tour.

Infiltração (Fluidos e Fixos,) 2010 Acrylic and oil on canvas 50cm x 39cm

An explanation of the technique behind her trademark, almost tartan-like, canvases gets lost in our Portufranglais translation. What I gather is that bold red paint running over delicate muted blue rectangles is achieved in part by infiltration of a heavy liquid layer of paint applied to the reverse of the canvas and allowed to permeate through. The technique is as intriguing as Niura herself; she tells me that this represents her personal surroundings.

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iTaLíTica_NháNhá, 2016 Acrylic and oil on canvas 100cm x 100cm

She becomes animated when she discusses her destructively mined home state of Minas Gerais. The rich red-brown pigment in the canvases representing her environmental surroundings is back-yard dust. She tells me of the importance of using the oldest and most basic pigments possible; the now familiar understated mineral blue is zirconium extracted from meteorites (Wow!)

The most intriguing (and the most difficult to photograph!) is a combined work representing Niura’s cosmic surroundings. Photographs of constellations taken by the Hubble telescope are juxtaposed with beautiful little dark canvases painted with ground meteorite. They glitter infinitely.

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Articulado Guignard, 2010 Multimedia

Niura is intense, other-worldly and mystical. She hands me a sumptuous book of her complete works that makes manifest her extensive career, imagination and talent. Espace L has done well to capture some fragments of her surroundings. Meeting her is a unique experience and, if I am honest, I leave the gallery a little bit in love with such an unchained spirit.

Celebrity Kiss in Vienna

Vienna! A city worth visiting. The streets are neat and clean. The people are pleasant and polite. The restaurants are wonderful. Everything works. The many well-organised museums celebrate a history steeped in the arts and science. Whole institutions are dedicated to Mozart and Freud. And, of course Vienna has Gustav Klimt (1862-1918) who is to painting what Wolfgang Amadeus is to music and what Sigmund is to Psyche; I conclude after my weekend here that Klimt has to be the greatest ever painter. Ever. But then that’s just the problem. Everywhere I look I see Klimt. The restaurant where I have lunch is decorated with tastefully lit Klimt prints. My hotel room has Klimt wall paper. Klimt posters are all over the U-Bahn metro. People flock here to see Klimt and to buy Klimt by the birthday card, teddy bear and t-shirt.

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Gustav Klimt “Flowering poppies” Oil on canvas, 1907

The Belvedere Museum has the single largest collection of Klimt’s paintings. I get there early and breakfast in the sumptuous café on coffee and apfulstrudel. In a state of delicious anticipation, I make my way to the Klimt rooms. The first has a number of his square landscapes. They are the most satisfying of paintings. They soothe the soul. They draw me into some delicate rural mystery. The technical mastery of the medium is astonishing. I feel a kind of stupefied admiration. I sit quietly with a privileged view of five of these canvasses.

I notice that the place is filling rapidly and tour guides are leading eager parties directly to the next room. I follow on their heels. I look around. I feel a sharp intake of breath, a quickening of the pulse and a tightening of the innards.

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Gustav Klimt “Judith” Oil on canvas, 1901

On my left is “Judith” in all her shining vampish glory. She is so well-known but this is the first time I see her for real. She simply dazzles. No surprise given the amount of gold flake Klimt incorporated used in this period. The apples on the tree behind her right shoulder tempt. The scaly snake skin warns of evil. I love the way her right hand has clamped onto the scalp of some poor schmuck who has given way to temptation. The painting epitomises Klimt’s golden period during which he combined themes of the naked female body, eroticism and mysticism with a range of pictorial influences including impressionism, Japanese screen-prints and ancient Egyptian symbols.

I turn to my right. I glimpse the broad and staggeringly beautiful masterpiece of the period, “Kiss;” the best known of all Klimt’s paintings and the main act of the great Viennese show-and-tell. Hang on! Has George Clooney just walked in?

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The celebrity in question is of course the canvas itself. My fellow visitors seem obsessed with taking photos. They hardly seem to look at the painting. It’s almost as if by having captured the image on their smartphones, they can now move on. I guess they will say they have “seen” Klimt’s “Kiss.” Unfortunately, a desire to stand in front of it in undisturbed admiration takes second place to the selfie-smartphone fad. What would Gustav himself have said if he witnessed this frenzy? Maybe Sigmund Freud’s observations would be more pertinent!

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The Belvedere is up to speed though. Right beside “Kiss” is a large, well lit room with a life-sized, high quality facsimile of the painting precisely for the purpose of selfie-taking. Most visitors prefer nevertheless to selfie-pose with the real deal despite the best efforts of the very tolerant but sadly cattle-prodless museum staff.

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Detail of: Gustav Klimt “Lovers (The Kiss)” Oil on canvas, 1908/9. Photo: Belvedere Museum

In the early 1890s Klimt met an Austrian fashion designer, Emilie Flöge; she became a life-long companion and occasional model. He designed dresses for her. “Kiss” is believed to be a depiction of them as lovers. One cannot but be moved in front of this painting. I just want to sit for a while and bathe in its exquisite presence. Just like I’d like to have a coffee with George Clooney. However, celebrity status precludes both. I accept begrudgingly that I have to view “Kiss” from a crowded and jostled distance.

I leave the Belvedere Museum with mixed emotions. However, whilst in Vienna, I am determined  to see more of Klimt’s extraordinary work. I take a tram to the very stylish and, happily, less hectic Leopold Museum. By weekend’s-end, I am totally Klimt out. But it is worth it!